He says, the heart that would be presented in the humility
of passion-- that heart is now no longer with me. That is, I have sustained
so many of the shocks of separation, the griefs of faithlessness, the agitations
of inattentiveness, that I am no longer ablt to perform the services of passion.
In the second line, he says proudly that in truth, my heart was worthy to
be presented in the court of passion, and it was so presented, and at some
time I indeed prided myself on that heart, but now it has endured so many
shocks that it is capable of nothing. (76)

The poet says only this much: that the heart now doesn't
remain fit for a lover-like show of submission. But he doesn't tell us any
reason for this.... Enduring the beloved's cruelties, or dragging the chains
of separation, the heart no longer remains capable. (93)

Because of the refrainnahii;N rahaa , 'did not remain', one might expect this
whole ghazal to have an elegiac mood, looking backwards to the days when the
lover was less ravaged and burnt out, so that he had more to bring to his
passion, and could consider himself a more worthy offering to the beloved.
But instead, look at the variety of the verses: in the first three, Ghalib
does indeed ring changes on the mood of nostalgia, but after that, his thought
veers off into other realms entirely. In the closing-verse,
{41,8}, however, he refers to this opening-verse
in a most unusual way, literally reproducing the second line.

This verse is one with an effect of simplicity, starkness,
dignity, loss. All the meanings of niyaaz -- a need,
a longing, a supplication, a gift-- are appropriate here to express everything
that the lover can no longer do. In theory, it's no surprise to the lover
that he should 'lose' his heart; that's the name of the game, after all. But
only after it's gone does he fully realize that the game in which he has had
to stake his heart can't be played at all once the heart is gone.

The wordplay is classically simple but appropriate, and serves
to point up the paradox-- the lover had felt pride or coquetry, naaz
, about the depth of his humility and supplication and lover-like behavior,
niyaaz .

For a similar theme see {25,4},
in which the lover loses his heart even before the game gets started. And
of course the general theme of progressive damage to the lover's heart, culminating
in complete loss and death, is at the center of dozens of verses-- and of
the ghazal world itself.